Testimonials

Read below for what top composers are saying about LA Scoring Strings

(Names are in alphabetical order)

John Debney

Oscar™ nominated composer • The Passion of the Christ, Sin City and Ironman 2

“I have a myriad of tools at my disposal. None is more crucial to the creative process than the sonic quality of my mock-ups. Presenting to a director a fully orchestrated and realized demo is of paramount importance. LASS is a quantum leap forward in giving me the creative tools to produce realistic mock-ups of my cues. I love the new library and am already using it on two films. I recommend the library highly!”

— John Debney

Danny Elfman

“The LASS string library has been my newest addition to my orchestral sample library and has been a great help. Working now on the score to ‘Alice in Wonderland’, I find myself turning to the LASS library for many interesting and useful performance articulations and dynamics that I don’t have with any other library. It’s proving to be very versatile and intuitive. I’m having a great time using the portamento which has always been a problem in the past, and is a large part of this score.”

— Danny Elfman

Trevor Horn

Grammy® Award winning producer

“Fantastically useful in the studio! Sonically rich, detailed and expansive. LASS allows you to quickly access a range of articulations placing the focus firmly on creativity and not endless programing. Intuitive, simple to use and well thought out from a players perspective. Having strings of this quality at your fingertips is very, very powerful!”

— Trevor Horn

Howard Jones

Chart topping singer/songwriter

“I found working with LA Scoring Strings to be very intuitive and musical.The different configurations of players can give you an intimate or more expansive sound, and I am able to get a lot of expression into my arrangements. Everything loads quickly and the interface is intelligently laid out so auditioning different divisi is easy. LASS is very enjoyable to use.”

— Howard Jones

Jan A.P. Kaczmarek

Oscar™ winning composer • Finding Neverland (2004)

“When I compose my scores, detail and expressive range are crucial. LA Scoring Strings with its extensive divisi sections, first chair solo instruments and amazing scripts are unmatched in this regard.”

— Jan A.P. Kaczmarek

Kevin Kiner

Composer • Star Wars: The Clone Wars, CSI:Miami, The Other Side of Heaven

“LA Scoring Strings are the main backbone of my scoring template. They especially get heavy use in ‘Star Wars: The Clone Wars’ and these are the ONLY samples that can pull off those legit licks with stunning realism. This is what real strings sound like! No other library I own comes close to the realism and expressive emotion that the LA Scoring Strings give me.”

— Kevin Kiner

Danny Lux

Composer • Grey’s Anatomy, Boston Legal, My Name is Earl, Ally McBeal

“LASS sounds fantastic and is more flexible than any previous librarywhen it comes to assembling various size sections. If I want the violins to be a small section, large section, with a lot of vibrato, no vibrato, or any where in between I can create it with ease. The programming is exceptional, easy to use and the scripts are very unique.”

— Danny Lux

David Newman

Oscar™ nominated composer • Anastasia, Ice Age, Cat in the Hat

“Being able to have total speed control of the portamentos and glissandos in real-time is fantastic… especially when you can do it with different divisi sections! And another salient thing for me is the Spiccato string engine (the A.R.T script)… there is nothing like it on the market. LASS is a wonderfully organic sounding library and is part of my current template.”

— David Newman

Mike Reagan

“The samples in my pallet must support musical ideas and inspire new ones. Thank you LASS for breathing life and joy into my film, video game, and TV projects! It’s a blast to have every articulation loaded… ALWAYS! Solid, Fun.”